I’ve been thinking about the practice of comping the media lately (alternative and mainstream: art blogs are as much the media as the G&M, bound by the same ideals of integrity, relative impartiality etc–what supposedly distinguishes us from marketing).
It’s customary for performing arts organizations to offer complimentary tickets to members of the media–usually a pair, sometimes if it’s a small space just the one. What is expected in turn is a review of some kind, though the media and the writer maintain the right not to write or run one, for whatever reason. So, roughly: a pair of tickets for some kind of documented response to the performance.
There’s a lot in this practice that I’m not sure about, concerning both sides.
Writers: are we sure a pair of free tickets cannot affect our judgment, esp for shows that we know cost hundreds of dollars to see? Or, conversely, esp for small productions by scrappy, heart-in-the-right-place upstarts trying to make their name? Do you feel bad about having to write a bad review for a show you got to see for free? What if this keeps repeating itself–free tickets, but the shows are still no good? Are you accruing any obligation here?
One thing I’ve learned is that the process of easy-come tickets separates our experience of getting to shows from the experience of the members of the public. As a buying customer of a Toronto new music festival, for example, I got to learn how chaotic and inconvenient the process of getting your ticket and getting into the venue usually gets. Before I started buying tickets for the second-best-known Toronto opera company, I did not know that their lowest cost, prominently advertised ticket price was fiction (the cheapest ticket for their shows is a dozen dollars more).
Meanwhile, in some quarters, the script for what you feel entitled to upon comping is changing. The other month I got an invitation to a show that also came with an offer of writing a preview for that same show. I said I’d consider the idea and would let them know if I want to do one. When the email with actual tickets came in a couple of weeks later, so did the reminder of doing the preview. I don’t usually do a preview and a review of the same show, but this dual suggestion came kind of tied in with the ticket offer.
Another company’s publicity company got into a habit of emailing the comp’d writers first thing in the morning after the show to check when the review is coming out. When it happened to me, I saw this as a nudge and I told them they should stop doing it, and that no other company does it. I don’t think they are going to stop (theirs is a pretty aggressive publicity company), but they did stop inviting me to their shows, looks like it.
At one point I thought, why don’t the big media buy their own tickets? They can afford them. And no obligations are unconsciously accrued between the writer and the artists. What about freelancers (and bloggers), though? Should we be comped, because we usually don’t have large spending budgets (we can claim the tickets as expenses on self-employed tax returns, but that doesn’t help with the current month’s budgeting)? When I buy my own ticket because I want to support a company, more often than not I end up not reviewing the production. It could be only me; I find reviewing a huge responsibility, and something that’s easy to do lazily, so I try not to, which is a lot of work. Which, if given half a chance, I’ll get myself out of.
Should we, when pairs of tickets come easily, privately take it upon ourselves to bring to the show people in our lives who don’t usually go to the opera–should we be introducing new opera goers to the art form? (I’ve been trying to do this for a couple of years.)
I can’t say I have the answers. What I do now for sure is:
- companies should know that comping is offered with no strings attached
- writers should be aware that seeing stuff for free, being greeted by a comm person you know well (sometimes even like), getting to your excellent seat with no hassle is a privileged, pampered way to encounter a show. It will inevitably colour your judgment. (Try a long wait in an unruly line at -7C outside RTH for your discounted festival pass one winter, and we’ll compare notes.)
- we should all keep in mind the that review is just one person’s opinion based on one particular performance and the reviewer’s own history, preferences, circumstance. It’s not a truth-seeking exercise. It’s not a judgment for all times.